RMIM Archive Article "415".
From the RMIM Article Archive maintained by Satish Subramanian
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# RMIM/C Archives..
# Subject: Raga Yamani and Devgiri Bilawal
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# Posted by: Rajan Parrikar (parrikar@spot.colorado.edu)
# Author: Rajan Parrikar
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Subject: Yamani and Devgiri Bilawal
Namashkar.
In this quick and brief note two prakArs of Bilawal, Yamani Bilawal
and Devgiri Bilawal, are discussed. Both of them exhibit vakra builds
but their main themes are easy.
Throughout the discussion M=shuddha madhyam, m=tivra madhyam.
(a) Yamani Bilawal
The idea here is the implant of Yaman Kalyan phrases on the Bilawal
root. Since there are a number of ways in which the details can be
worked out there is divergence in the actual presentation across
gharanic and regional boundaries. However, it is possible to extract
a common core or at least envelope the major features. The notable
exception is the version coming out of the Jaipur school.
The nominal aroha/avaroha set may stated as follows:
S R G P (N)D N S":S" N D P, m P G M RG R S
A Yamani Bilawal simulation can be done as follows:-
Start with the standard Bilawal outline:
G R G P, P M G, R G P (N)D N, S", S" (N)D P...
At this point insert elements of YamanK:
... P m P G M RG, G M D P m G M RG, R S, D' N' S N' R' S
Reassert Bilawal:
M G R G P, P M G, P (N)D N (D)P...
Slip in the YamanK strand again: m P, DPmP, G M RG, G M G R G (R)S
The key Bilawal phrases are: P (N)D N S" and S" (N)D P, P M G, G R G P M G (R)S
It is easily seen that the interface between the Bilawal and Kalyan is smooth and
the transitions smooth.
In the Yaman Kalyan portion of the phrasing, the tivra madhyam almost always follows
the pancham, is then followed by the shuddha madhyam, as in P m P GMRG or D P m GMRG
(note the quick cluster GMRG that is distinctive in Yamani Bilawal). Neither of the
two madhyams is suited for prolonged stays, the nyAsa is on the pancham and gandhAr.
The "Bilawal madhyam" is featured as in P M G or G R G P M G, R G M R G (R)S. Overall
the rAga retains its Bilawal chassis. Y-Bilawal is primarily treated in the madhya
and tAr saptaks. Occasionally the komal nishAd is invoked in a Bilawal-like fashion,
to wit, S" (N)D n D P but its presence is not deemed essential. The Maihar punters
occasionally bring in an explicit Yaman phrase of the kind: m D N S" or m D N R".
I don't find it appealing and it is best not to cut across the Bilawal profile in the
uttarAng. Such forays may lead to unnecesary accentuation of YamanK which is what
I suspect may have lead to Amit Chatterjee's stated discomfort.
Yamani Bilawal has not been recorded all that much commercially but radio recordings
exist (none that I can point to at this moment). Aside from Mansur, Ravi Shankar and
Nikhil Banerjee have recordings available, neither of which is wholly satisfactory.
Banerjee's gat is beautiful and he plays some breathtaking phrases but the treatment
is a trifle hurried. I wish we had a longer offering from him. Mr. Shankar's recording
is a 3 or 4 minute quickie. Perhaps someone can add more recordings to the list.
(b) Devgiri Bilawal
The root and stem is again primarily Bilawal but seeded with elements of Yaman,
Shuddha Kalyan and Bihag. There is no tivra madhyam here (else it'll sound like
Yamani Bilawal). It employs peculiar clusters in the mandra saptak and the poorvAng
of the rAga which establish its signature.
A possible aroha/avaroha set is:
S, N' R G M G, P (N)D N S":S" (N)D P, GMGRG, R S (S)D' P' G, (R)S
The key identifiers of Devgiri are:
(1) G (G)R S, (S)D' P' G (this jump from the mandra pancham to the gandhAr is
characteristic of Devgiri and a sure pointer to its identity)
(2) D' N' D' S (N')R S
(3) N' R G M G R S, GRGMGRG, R S (Some people eschew this phrasing and supplant
it with: N'SRGRGMGRG, R S)
(4) G R G M (S)M G P, P G M G
(5) P', P' (N')D' N' S
Note that (1) and (2) are influences of Shuddha Kalyan, (3) is a Yaman import,
(4) a strain of Bihag and (5) the standard Bilawal countour replicated in
the madhya saptak as well.
Putting together the ideas elucidated above we may devise a movement:
S, D' N' (S)D' S (N')R S, N' R G, N' G, MGRG R S (S)D' P G,
GMGRGP, P M G, N'SRGMGRG, (N')D' N' D' S (N')R S, P' (N')D' N' S...
For the komal nishAd the same considerations mentioned in the case of
Yamani Bilawal apply. A relatively minor detail is that the GMRG group
of Yamani Bilawal is sometimes used in Devgiri as well (as you'll
see in the compositions listed below). It is a matter of taste.
It must be emphasised that the intonational nuance involved in (1), (2) and (3)
must be experienced in a demonstration to get the gestalt of Devgiri Bilawal. The
written description is incompetant in enucleating the delicacy and beauty contained.
There are AIR recordings of Basavraj Rajguru and K.G. Ginde and these renditions
circumscribe Devgiri completely (incidently both of them sing the well-known vilambit
kHayAl "ye banA byAhAn...". Ginde's drut bandish is the old Ratanjankar classic "mAno
zarA ab mAnani..."). Ravi Shankar has recorded a brisk 5-7 minute gig that is mediocre
but it offers a flavour of the Maihar interpretation (a stronger Shuddha Kalyan presence
there). There is also a longer Allaudin Khan recording which is quite boring (read
forgettable).
I may add en passant that the interested may want to compare Devgiri with its close
relative Alhaiyya Bilawal.
Finally: I had posted a bandish of Yamani Bilawal some months ago. Two compositions
in Devgiri Bilawal are now proferred. Hopefully some of you will have fun working
through them.
Warm regards,
r
*************************************************************************************
This composition is in honour of Vishnu's wife, Mrs Laxmi. The traditional
bandish is based in Raga Tilak Kamod. A new tune in Devgiri is now offered.
1) Raga: Devgiri Bilawal
Tala: Roopak (madhya laya)
Text: Traditional
Music: Rajan P. Parrikar
prArthanA Mahalaxmi-mAte
rasarangA si sadA trAte
tav krupe mangal ghaDo
sant-sevA nitya lAbho
sadayi namito aji mAte
1 2 3 4 5 6 7 1 2 3 4 5 6 7
N' R GM G - (R)S (D')P' G - M G - G -
prA...r.....tha...nA . ma....hA la..........xmi mA..........te.....
<-----meenD------->
GM GR G P - P -D (P)M - (G)R R GM G (R)S
ra....sa....ran...gA..... si .sa...dA . . trA.........te.....
<---smooth curve--->
1 2 3 4 5 6 7 1 2 3 4 5 6 7
P (PD)n DP MG R - GP N (N)D N S" - - -
ta....va kru...pe..... . man...ga....la gha...Do.................
(S")N R" G"M" G" - (R")S" - D n D P - P -
san.........ta. se..........va..... ni..........tya lA..........bho....
GM GR G P P P -P GP DN S" M - GR SN'
sa....da....yi na....mi....to .a....ji........... mA..........te.....
<--curve smoothly-->
(a "smooth curve" does not have the full force of a meenD)
-------------------------------------------------------------------------------------
Our familiar horny hindustani hag is back again (the same one who is 58 years
old (but looks 55), convent-educated and a virgin), this time stomping around
town with jingle bells on her ankles. We suspect this is a subtle ploy to attract
the attentions of her studmeister who is currently busy administering veeNA
lessons to an up-and-coming&willing busty California blonde.
2) Raga: Devgiri Bilawal
Tala: TeentAla (ati drut)
Composer: Ratnakant "Premrang" Ramnathkar
jhananana bAjat pAyaliyAN mori re
mohe Dar lAgat kaise ghar ja'ooN
sabad sunat sab jAg parat log
piyA 'Premrang' kaise ke manA'ooN
Asthaie:
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
G R S SN' D'P'
jha...na....na..........na
G - - GM RG RG MP M G - - GM GR G P -
bA.................................ja...ta.......... pA....ya....li....yAN....
<--shake/gamak-->
(N)D N S"(N)R" S" S"N D P GM RG - MG P M G (G)R
mo..................ri...... re.... mo...he . Da....ra lA..........ga
<--meenD-->
G (G)R S N' - R G M G (G)R S
ta......... kai........se gha.ra jA.........ooN
Antara:
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16
P P N (N)D N
sa....ba....da..... su
S" - - - - -(S")N R" S" - - (N)D N S" N R"
na......................................ta.......... jA..........ga..... pa
S" N S" N (N)D N P - GM RG - (M)G P M G R
ra..................ta.... lo........ga.......... pi....yA pre.........ma
<---meenD--->
G (G)R S N' R G - M G (G)R S
ran.......ga kai..se ke.... ma...nA.........ooN
<--meenD-->
From the RMIM Article Archive maintained by Satish Subramanian